Sunday, June 5, 2016

Conrad Clipper "Cycle of Liminal Rites" SOLD OUT

We are officially sold out of Cycle of Liminal Rites. A few remaining copies can be found at Reckless Records in Chicago or by visiting their website for US and international shipment.

Saturday, June 4, 2016

Key Club, Benton Harbor, MI


Something from the vaults. An interview conducted in 2013 with Bill Skibbe and Jessica Ruffins at Key Club recording studio in Michigan. Read here at Alarm Magazine.

“Question Mark and the Mysterians played here. Tommy James [and the Shondells], The Association, Neil Young—the place had some real history of being a venue and being a place to play.”  

Photos by Jon Shaft and written by Emily Elhaj. 




Tuesday, April 26, 2016

Video for "Fugue State" by Conrad Clipper Released


We're pleased to announce we're nearly sold out of Cycle of Liminal Rites. Thank you to Reckless Records in Chicago, Harvest Records in Asheville and BBC 3's Late Junction for helping us move some of these tapes. Visit the Love Lion bandcamp page for orders.

Here is a video for "Fugue State" to celebrate!

Music: "Fugue State" from Cycle Of Liminal Rites
Video: Water & Concrete, by Sophie Littman

Sophie's amazing work sophielittman.co.uk

Wednesday, April 13, 2016

Conrad Clipper on BBC 3's Late Junction


We are excited to announce Conrad Clipper has been featured on BBC 3's Late Junction twice this month. Episode hosts include Max Reinhardt, Sam Lee, and Ruth Barnes. 

Stream April 5's show here and April 13's episode here
 

Saturday, February 20, 2016

Thank you Slow Drift and WRFI for including Conrad Clipper on your radio show. Follow the link to stream or download the episode. 

The Slow Drift :: Episode 61
With Andrew Hoffmann
Original Air Date: 2016/02/05
Recorded live on WRFI Community Radio


theslowdrift.org 
wrfi.org




Playlist

billy gomberg :: empty falls :: waiting in poor lighting [avant archive]
nicolas barnier :: aurore iii :: music for a book [home normal]
::
mica levi :: love :: under the skin ost [milan]
hans zimmer :: s.t.a.y. :: interstellar ost [watertower music]
conrad clipper :: wide night :: cycle of liminal rites [love lion]
::
ryuichi sakamoto :: the revenant main theme atmospheric :: the revenant ost [new regency music]
sarah davachi :: flowers and other voiceless things :: qualities of bodies permanent [constellation tatsu]
black to comm :: is nowhere :: black to comm [type]
tim hecker :: spectral :: radio amore [mille plateaux]
::
clint mansell & the kronos quartet :: the last man :: the fountain ost [nonesuch]

Friday, January 22, 2016

"Cycle of Liminal Rites" Out Now


Release day is upon us! Limited to 100 high-bias tapes, C46, matte black tapes, full color art, plus high-quality download. Dubbed and printed in Chicago.

Buy via Bandcamp



Thursday, January 14, 2016

How I Made 'Cycle Of Liminal Rites'

Conrad Clipper has sent a personal account of the process of making our next release. We have the tapes and should be ready to ship in a week or two. Keep you posted!


"How I Made Cycle Of Liminal Rites

I started recording this album three years ago after I heard a late night radio show discussing the poet Rilke and his use of ‘the liminal’. If that sounds a bit fancy, it’s actually quite straightforward: the liminal world is the one that is around us but always unseen. We may find it in the moment of prayer, in an old photograph, in the moment before we go to sleep, in birth, and in death.

I felt like my music has always wanted to try and capture this quality but I didn’t know how to name it. Once I understood that this was what I wanted to achieve, I was able to start making the record. I don’t read or write music so I had to work out a way to score everything. I did this mostly by hand, using midi. I then played the piano back against these midi scores, and I used a number of different pianos in different locations across Berlin. Then I learned how to build software arpeggiators in Max MSP, which you can hear in tracks like Lake Kinesis and Fugue State. It took many, many hours of trial and error to score the rest of the parts for the woodwind, brass and string sections.

I recorded everything onto a cheap tape recorder and into the computer. Then I sent stuff back out onto tape again, to get that saturation you can hear. I also used a lot of field recordings that I made on my phone, from many different locations - car parks and churches in Berlin, airport toilets, on the banks of rivers, in the Welsh mountains. Finally when I was happy with the way it sounded, I took my gear to an abandoned sanitarium in the French Alps and played everything back, and re-recorded the sound of it playing in these dusty, forgotten rooms.

In this way, the record is actually a little like a live performance but no one attended apart from me."  
- Conrad Clipper